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Les Noces 'Svadebka'

Introduction

Stravinsky wrote of Les Noces: ‘I became aware of an idea for a choral work on the subject of a Russian peasant wedding early in 1912; the title Svadebka (‘Les Noces’) occurred to me almost at the same time as the idea itself.’

This idea of the wedding as a choral work did not take final shape until 1923, over ten years later. In the meantime the piece went through many sea-changes of colour which present some intriguing combinations of instrumentation, involving mechanical and folk-based sonorities. The long gestation period had much to do with the War, but also other com­missions such as Renard and Le Chant du rossignol were offered to Stravinsky. One of the first versions of the score emerged in 1917 in which the vocal parts were enveloped by a lush sonority of a large orchestra plus solo strings and cimbalom. Stravinsky had apparently earlier toyed with the idea of a much more ‘peasant’ sounding ensemble with bala­laikas and guitars for a more representational display of the text. The stripping away of realistic detail in favour of a more radical and austere sound took Stravinsky in the opposite direction in 1919, towards a largely mechanistic, experimental sound involving pianola, harmonium, two cimbaloms and percussion. The next version—an improbable and, from a conductor’s point of view, fiendish combination of four pianolas with harmonium and percussion—was explored and abandoned. Finally, the evolution from representational through mechanistic to a synthesis of the stylized combined with a metamorphosis of folk elements emerged in the form which is heard in this recording. Scored for four pianos and percussion, it is with these forces that the orchestral medium is most powerfully suggested without sacrificing the pungency of percussive impact.

Dramatically, the spectacle and vocal representation of a wedding is similarly stylized. The vocal lines are not represen­tational; for example the soloists do not take on exclusive individual roles of bride, groom, parents etc, but rather adopt different roles, giving us an insight into the expressions and reactions of individual characters without developing them as personalities. The original choreography for the work at the Théâtre de la Gaîté‚ in June 1923 reinforced Stravinsky’s ideas of ‘the ritualistic and non-personal. The choreography was expressed in blocks and masses; individual personalities did not, could not, emerge.’

Though Stravinsky structures the first two scenes of Svadebka by separating the male and female wedding pre­parations, these formal frames are widened later as the rituals of the wedding become more complex, and the last scene takes on a potentially anarchic but compositionally tightly controlled form. Here the sound picture is a collage of streams of thought, strands of conversations, party noises—sounds which are almost representational in their depiction of energy, celebration, drunkenness, sexual suggestiveness combined with the evocation of pagan fertility gods alongside references to the Virgin and saints. Pagan play-acting is a strong tradition, seen here in both the collection of bridal songs and Svadebka, but perhaps the most important element underlying Svadebka, the idea of ritual and sacrifice, is most characteristically expressed by Stravinsky’s compositional technique of cellular, motivic repetition made unpredictable by using irregular stresses. However, Stravinsky is never merely descriptive. The collection of clichés which are typicalIy trotted out at weddings might be ‘compared to one of those scenes in Ulysses in which the reader seems to be overhearing scraps of conversation without the connecting thread of discourse. But Svadebka might also be compared to Ulysses in the larger sense that both works are trying to “present” rather than to “describe”.’

The textual sources for Svadebka were anthologies which Stravinsky described as ‘treasures of the Russian language and spirit’. The appearance of creatures in the text is both typical of traditional folk characters and symbolic of the bridal situation. ‘Swans and geese both fly and swim and, therefore, they have fantastic stories to tell about the skies and the waters, stories that are mirrors of peasant superstitions. I am referring to the soprano’s lines beginning “I flew up high one day and saw the sea …”, but “swan” and “goose” also refer to the bride and groom. They are popular terms of endearment like “my little dove” or “my little goose”.’

Svadebka contains the same aspects of innocence and cruelty which are essential to The Rite of Spring except for the Rite’s final element of death-sacrifice. In Svadebka it is given a ‘civilized’ form in the marriage bed scene and sublimated in the form of celebration—or lament depending on the viewpoint—in the tolling of the bells at the very end of the piece. The binding of the bride’s tresses with red and blue ribbons was a religio-sexual custom, as was the tying of the tresses around her head to signify the married state. The lamentation of the first scene can also be taken on different levels: the girl genuinely weeps for loss of innocence and for the pain of her pulled hair, but also because it is the bride’s custom and duty to weep.

Prologue The Narrator enters and addresses the auditorium: “Ladies and Gentlemen, You are about to hear a Latin version of King Oedipus. In order to spare you all effort of ear and memory and as the opera-oratorio preserves only a certain monumental aspect of the play, I shall recall Sophocles’s drama as we go along.

This is the plot: Thebes is prostrate. After the Sphinx, the plague. The chorus implores Oedipus to save the city. Since Oedipus has vanquished the Sphinx; he promises. Without knowing it, Oedipus is in the grip of those forces which keep watch on us from beyond death. When he was born, they set him a trap which you will see close here”.

Act I Creon, Oedipus’s brother-in-law, has returned from consulting the oracle, at Oedipus’s request. The oracle demands that King Laius’s murder be punished, only then will the plague leave the city. The murderer is hiding in Thebes; he must be found whatever the cost. Oedipus prides himself on his ability to solve riddles. He will discover the murderer and drive him from Thebes. Oedipus turns to the prophet for help and begs him to speak the truth. Tiresias evades the question. He is all too aware that Oedipus is a plaything in the hands of the merciless gods. Tiresias’s silence vexes Oedipus. He accuses Creon of wanting to seize the throne and Tiresias of complicity. Enraged at this slander, the prophet decides to speak. Thus comes the revelation: the king’s assassin is a king.

Act II The royal dispute comes to the attention of Jocasta. She calms the men, shaming them for arguing in a stricken city. Jocasta does not believe in oracles: oracles always lie. For example, it was prophesied that Laius would die by the hand of his own son, whereas Laius was murdered by bandits at the intersection of three roads.

The intersection! Trivium! The word chills Oedipus. He recalls that on his way from Corinth, before meeting the Sphinx, he killed an old man at the intersection of three roads. And if that was Laius—what next? Oedipus cannot remain here, nor can he return to Corinth—for the oracle had prophesied that he would kill his father and marry his mother. Oedipus is filled with dread.At last a witness to the murder appears—a shepherd. A Messenger informs Oedipus of the death of Polybus, believed by Oedipus to be his father, but now it is revealed that Polybus was not in fact the real father of Oedipus.

Jocasta realises the truth. She tries to draw Oedipus away and dissuade him from seeking to discover the secret of his birth—but in vain. Jocasta flees.

Oedipus believes that she is ashamed to be the wife of a lowly impostor. This is Oedipus, so proud of his ability to solve riddles. He is ensnared, and only he fails to see this. Suddenly a terrible supposition flashes through his mind. He falls from his great height.

A stirring monologue begins: “The divine Jocasta is dead.” In it the Messenger describes how the Queen has hanged herself and Oedipus has gouged out his eyes with her gold pin. The words are taken up by the chorus.

The king has fallen into the trap. A lowly creature, an incestuous person, a madman for all to see. Oedipus is exiled, but with unusual pity and compassion. “Farewell, Oedipus, our poor Oedipus, I loved you, Oedipus, I bid you farewell.”

Stravinsky’s choral work Les Noces—the epitome of his ‘Russian’ style—is placed in context in this recording where the New London Chamber Choir are joined by the Voronezh Chamber Choir who bring an authentic Russian sound to the ensemble.» More

Bridesmaids: I comb her tresses her fair golden tresses, Nastasia’s bright hair Timofeevna’s fair tresses. I comb and plait it, with ribbon red I twine it, I will twine her golden hair. I comb her fair tresses bright golden tresses, I comb and I twine Timofeevna’s fair tresses, I bind her tresses I comb them and plait them, with a fine comb I dress them.

Bridesmaids: I comb her tresses, her fair golden tresses, Nastasia’s bright hair, Timofeevna’s fair tresses, I comb and plait it, I comb it and bind up her hair, with a ribbon of bright red, twine it with a ribbon blue.

Bride: Golden tresses bright, O my tresses fair …

Bridesmaids: Weep not, O dear one, weep not, let no grief affect thee, my dear one, weep no more, Nastasia, weep no longer, my heart, my Timofeevna. Of your father think your mother’s care and of the nightingale in the trees. Your father-in-law, he will welcome you, your mother-in-law will bid you welcome, and tenderly will love you e’en as though you were their own dear child. Noble Fetis Pamfilievitch, in your garden a nightingale is singing, in the palace garden all day he whispers cooing notes at nightfall hear him singing aloud his song of love. ’Tis for you, Nastasia, his singing, my dear one, for you alone his singing, for your delight, your happiness he shall not disturb you sleeping in time for mass he’ll wake you. Come, come let us make merry from one village to another. Come, come, dear Nastasia shall be happy, she must be gay and joyful. Come! She should always be of good cheer. ’Neath the little stones a brook flows. Underneath the stones a little brook is flowing, underneath the stones, making loud and happy music. Loud and gay it sounds like beating drums, like beating drums, gaily loudly making music. So Nastasia Timofeevna, so in marriage do we give thee.

Bridesmaids, the bride and the mother: Virgin Mary, come to us and aid us, plait her hair, aid us wed her, Nastasia fair … plait, plait my little tresses, plait my hair and bind it with ribbon red, in plaits bind it tightly. I will comb Nastasia’s fair tresses, I bind the fair hair of my Timofeevna, once more I comb it and bind it with ribbon, a ribbon entwin’d about her hair, again I will comb Nastasia’s fair tresses, I comb them and twine them, my Timofeevna, I twine her fair hair, with a ribbon I bind it, a ribbon of bright red, blue a ribbon blue, and ribbon red, bright red, as my own lips are red. A ribbon blue, as blue as my eyes …

Father & Bride: Your father-in-law, He will welcome you, Your mother-in-law will bid you welcome, And tenderly will love you E’en as though you were their own dear child.

Bride, Mother & Bridesmaids: Noble Fetis Pamfilievitch, In your garden a nightingale is singing, In the palace garden, all day He whispers cooing notes. At nightfall hear him singing a-loud his song of love. ‘Tis for you, Nastasia, his singing, My dear one, for you alone his singing, For your delight, your happiness, He shall not disturb you sleeping, In time for Mass he’ll wake you.

Bride, Mother, Relations, Chorus: Heaven, heaven! Let us make merry from one village to another, Heaven, heaven! Dear Nastasia shall be happy, She must be gay and joyful. Heaven!

Father: She should always be of good cheer. ‘Neath the little stones a brook flows…

Bridesmaids: I twine her tresses, again I will twine them, With ribbons entwine it, my Timofeevna, Once more I comb it, and plait her hair, And bind it with a red ribbon. Again I will comb Nastasia’s fair tresses, I comb them and twine them, my Timofeevna, I twine her fair hair, with a ribbon I bind it, And brush it with a fine comb.

Bridegroom’s friends: Virgin Mary, come, come and aid our wedding, hear our pray’r, aid us as we comb the fair curls of Fetis. Virgin Mary comb the fair locks of Fetis, while we comb and brush the curls of Pamfilievitch. Virgin Mary come. Wherewith shall we brush and comb and oil the fair locks of Fetis? Come, come to aid us, O come Virgin Mary, O come, Mary aid us, uncurl his fair locks. Quickly let us to the town and buy some pure olive oil, and curl his locks, his fair locks. Come Virgin Mary, come to aid our wedding, aid us now as we uncurl the bridgegroom’s locks!

Parents: Last night, Fetis sat, sat within his house all the while. Last night Pamfilievitch his fair locks sat brushing. Now to whom to whom will these curls belong? Now, now, to whom, to whom will these curls belong? Now they will belong to a rosy lipp’d maiden. Do they now, now, belong to her to the tall one, to Nastasia, to Timofeevna. Now Nastasia pour oil on them. Do you pour oil on them; you, Timofeevna, you pour oil on them. Oil the fair, the curly locks of Pamfilievitch, the fair and curly locks. O the fair, the curly locks of Fetis, the fair and curly locks of Pamfilievitch. Thy mother curl’d them oft, saying then while she was curling them, ‘Little son, be you white and rosy cheek’d little son, my little child, my son. And another one will curl your locks, and another one will love you.’ Shining locks and curly whose are they? O Pamfilievitch lovely locks curly, the locks of Fetis, well oil’d and lovingly curl’d. Glory to the father, glory to the mother, well have they brought up their wise one obedient, obediant and wise one obedient. A clever prudent child.

Bridegroom: Let my fair curls be in order, upon my white face, in order, and grow used to my young man’s ways, my habits, my dandy young habits are usual there.

Chorus: Ah in Moscow, in the city, dandy young habits are usual there. Virgin Mary, come, come and aid our wedding, aid us to brush the locks, aid us to uncurl the fair locks of Fetis, aid us to uncurl the fair locks of Fetis. Virgin Mary come and aid us to uncurl the fair locks of Fetis. Holy Mother, come to us, thyself come we pray thee. Come to the wedding, to the wedding. And with thee, all the holy apostles. Come to the wedding, to the wedding, and with thee come all the angels. Come to the wedding, to the wedding. Now may God bless us, God bless us all and his Son, come to the wedding, to the wedding, to the wedding!

Bridegroom: Bless me my father, my mother, bless me your child who proudly goes against the strong wall of stone to break it. See him, Fetis, the noble Fetis there, see him the noble Fetis, there to win his bride, his lady. So the candles are lighted. We go now to the church and we kiss there the silver, to invoke our Lady’s blessing!

First bridesmaid: All you that come to see the bride passing by, did stay to see her ta’en away. Give you blessing, bless the prince upon his way, the bridegroom who is gone away to meet his bride, to wed her whose troth is plighted, on his brow to set a golden crown.

Chorus: Ah, on his brow to set a golden crown! See there fades the flow’r too! Falls a white feather, now the flow’r fades, fades the flow’r too, now fades the flow’r, the feather falleth, so did Fetis kneel down before his own father, so did Fetis kneel before his mother graciously, asking their blessing upon the son who goes to be married, and may the saints go with him, guarding him, may the saints go with him too, and keep him in their care. Lord, O bless us all from oldest to the youngest children. Saint Damien bless us also. Bless us Lord, bless the bride and the bridegroom, bless us also, the oldest, the youngest, O bless us. Ah! Bless us, O Lord, and bless now our wedding too, bless us, Lord, send thy blessing upon us all bless us, O bless the father and mother, sister and brother. Bless us, O bless the sister and the brother, bless us, we pray thee, bless all who are faithful, all who fear and love him. God protect us, aid us now, God be with us now. Bide with us, abide with us, abide with us now Saint Luke, do thou be with us, bless us, Saint Luke, Saint Luke. Bless our marriage rites we pray thee, bless the couple whom thou hast chosen, bless the pair Saint Luke bless them whom thou, thou hast chosen. Grant, O grant thy blessing for always, and to their children!

Chorus: Virgin Mary, Come, come to us, To aid our wedding, To aid us as we comb, The fair curls of Fetis. While we comb and brush the curls, The fair curls of Pamfilievitch. Come, come to us, To comb the curls.

Friends: Wherewith shall we comb and oil the curls of Fetis? Wherewith shall we comb and oil the fair locks of Pamfilievitch?

Friends: Quickly let us go to the town And buy some pure olive oil, Let us buy some pure olive oil and curl, And curl his fair locks. Let us hasten there and let us buy pure olive oil for Fetis’ locks. Let us buy some pure olive oil And curl his locks, his fair locks.

Chorus: Come, Virgin Mary, come to aid our wedding, Aid us now as we uncurl the bridegroom’s locks.

Mother: Last night Fetis sat, sat within his house all the while.

Father: Last night Pamfilievitch sat brushing his fair curly locks.

Parents: Now to whom, To whom will these curls belong? Now, now, to whom, To whom will these curls belong? Do they now, Now, belong to her, to the tall one? Now, Nastasia, Pour oil on them! The fair and curly locks! Thy mother curl’d them oft, Saying then while she was curling them:

Now they will belong to a rosy lipp’d maiden, To Nastasia, to Timofeevna. O the fair, the curly locks of Fetis, The fair and curly locks of Pamfilievitch.

You pour oil on them; You, Timofeevna, you pour oil on them! O the fair, the curly locks of Fetis, The fair and curly locks of Pamfilievitch.

Relatives: Glory to the father, glory to the mother, Well have they brought up their child. Ah, in Moscow, in the city, They were impressed by his curls.

Mother: A clever prudent wise one obedient, Obedient and wise one, obedient. Ah, in Moscow, in the city, They were impressed by his curls.

Bride: And you, Nastasia, now you must grow used To my ways and thoughts, To a young man’s habits.

Bride: Let my fair curls lie, Upon my white face, And grow used to my ways and thoughts, To a young man’s habits.

Chorus: Ah, in Moscow, in the city, they were impressed by his curls. Dandy young habits are usual there. Virgin Mary, Come, come to us, To aid our wedding, Aid us to uncurl The fair locks of Fetis, Aid us to uncurl The fair locks of Pamfilievitch! Virgin Mary, Come, come to us, To uncurl the fair locks of Fetis.

Chorus & Soloists: Holy Mother, come to us, Thyself come, we pray Thee. Come to the wedding, to the wedding. And with Thee, all the Holy Apostles, Come to the wedding, to the wedding. And with Thee come all the angels. Come to the wedding, to the wedding. Now may God bless us, God bless us all and His Son, Come to the wedding, to the wedding, to the wedding.

Bridegroom & A Friend: Bless me, my father, my mother, Bless me, your child who goes to the capital city To break down the wall of stone. There to win his bride, his lady. To go to the church, And to kiss the silver cross.

Guests: See him, Fetis, the noble Fetis there. So the candles are lighted. To invoke our Lady’s blessing.

A Friend: All you that come to see the bride passing by, Did stay to see her taken away.

Chorus: Give you blessing, bless the prince upon his way, the bridegroom…

A Friend: Who is gone away to meet his bride, to wed her whose troth is plighted!

Chorus: On his brow to set a golden crown.

All: Ah!

Chorus & Soloists: There falls a swan’s feather! Ivan has fallen! Before the palace it falls! Ivan has fallen! Fetis falls on his knee before his own father, Pamfilievitch falls on his knee before his own mother. Asking their blessing upon the son who goes to be married, And may the saints go with him, guarding him. May the saints go with him too, and keep him in their care.

A Friend Lord, O bless us all from oldest to the youngest children! Bless us, Lord, bless the bride and the bridegroom!!

Chorus: Brightly shines the moon on high, beside the glowing sun, ev’n so the princess liv’d within the palace happily beside her aged father and her mother, happily beside her father and her mother dear.

Bride: Grant me your blessing, father, for now I go to a foreign land.

Father and mother: See how bright the candles burn before the ikon, so I have stood before it long. So the princess stood awhile and quickly then away she went.

Chorus: So they gave their blessing to their daughter fair, so she before her father stood weeping, and to ev’ry quarter of the world I go. Holding the ikon, holding bread and salt too, holding bread and holding salt too. Thou Saint Cosmo come with us, Cosmo and Damien! O come with us, Saint Cosmo, O grant that the wedding may prosper, enduring from youth unto age, do thou grant that the wedding may prosper, enduring from youth unto age, enduring from youth to old age, to old age. To the room where the two little doves are sitting, two little doves in a small room, holy Cosmo and Damien walked about the hall and came back. To our children even unto them. In the little room, the happy room, the small room, there are sitting two little doves. There is singing, dancing, drinking too. Tambourines sounding, clashing, cymbals are being played. Long and happy union grant thou them. May the wedding endure from their youth, from their youth unto old age and unto their children, holy Cosmo and Damien walked about the hall, they walked about the hall and then they came back. Virgin Mary, give thy blessing, Virgin Mary, mother of our blest Saviour, grant thy blessing on this union. The apostles and all angels, as the hops entwine together, so our newly married couple cling together, as one they cling together, as the hops entwine together. So they cling together, as the hops entwine together.

Chorus: Brightly shines the moon on high, Beside the glowing sun, even so the princess Liv’d within the palace happily Beside her aged father and her mother, Happily beside her father and her mother dear.

Bridegroom: O grant me your blessing, father, dear,

Chorus: For now I go to a foreign land.

Father: See how bright the candles burn before the Ikon, So I have stood before it long.

Mother: So the princess stood awhile and then, quickly, away she went.

Friends: So they gave their blessing to their daughter fair,

So she before her father stood weeping,

Bridegroom & Mother: And so to ev’ry quarter of the world I go, Holding the Ikon, holding bread and salt too, Holding bread and holding salt too.

Mother: To the room where the two little doves are sitting, Two little doves in a small room.

Chorus: Holy Saint Kuzma, O come to the wedding! Holy Saint Kuzma, so the wedding may prosper, Holy Saint Kuzma, do thou grant that the wedding may prosper, Fast and firm, for many centuries, Enduring from youth unto age, enduring, Mother walked about the hall gathering nails from the hay.

From youth to old age, to old age.

Chorus: To our children e’en unto them.

Mother: In the little room, the happy room, the small room,

Chorus: There are sitting two little doves.

They are drinking, drinking and pouring too,

Striking the drums, the cymbalom plays along.

Chorus & Soloists: Kuzma-Damien walked about the hay, Gathering nails to make fast the wedding. Holy Kuzma, aid the wedding, From youth unto old age. Holy Kuzma, aid the wedding, From their youth unto old age. And unto their little children. And you, the Mother of God, You, Mother of God, Mother of our blessed Saviour, Aid this wedding, forge this union, Forge this union, make it hold fast. And all the Apostles, And all the Angels, As the hops entwine together, So our newly married couple cling together, as one they two.

(Departure of the Bride. Everyone leaves)

(Enter the Mothers of the Bride and Bridegroom on each side of the stage)

Chorus: Berries two there were on a branch, they fell to the ground, one berry bows to another berry one. Ai, louli, louli, louli! Louchenki, ai louli! A red, a very red one, and a strawberry did ripen, Ai Louchenki, louli! And one berry to another spoke sweetly, close one berry grew to another, close to it and one berry represents the noble bridegroom, Fetis, and the other, Nastasia, ’tis the white one. So gaily gaily goes he Theodor Tichnovitch, I found a ring, found a golden ring, ring of gold set with precious stones. Who comes here so gaily? Palagy Spanovitch, who is’t comes here so gaily? Palagy Spanovitch. I have lost, lost the golden ring with jewels set, with precious stones. Oh, poor me, oh, poor Palagy, oh, poor Palagy no more is gay, no more is he gay, oh, poor Palagy. Flying comes a grey, a little goose. One red berry bows to another red berry, one red berry spoke to another red berry. Flying comes a grey, a little goose, flying comes a grey goose, little goose, flying comes a grey goose. Now its wings are beating, its tiny feet are scratching, making clouds of dust rise, making all the nobles.

Bride’s father: How behold your wife, whom God hath given you.

Chorus: And what did we tell you dear Nastasia? Your wife must sew and spin, she must keep the line and sew and spin the flax white and sew it too!

The bride’s mother leads her to her son-in-law

Bride’s mother: To you I entrust her, my son-in-law, I entrust her my daughter dear.

Chorus: Let her sew the linen, food you shall give her and clothe her, give her to eat and to drink, and set her to work, you feed her, and clothe her and bid her work.

Father: You saw the logs. Ask again.

Chorus: Love her and shake her like a pear tree and love her. They are come our nobles, fill the flowing goblets, round the tables going fill the flowing goblets, going round among the guests and toasting Mary. Drink thou little mother, eat thou Maritovna. I do not drink, I do not eat, I listen here, listen to the nobles as they eat and drink their wine. If our Simon were here, O you gay, noisy chatt’ring goose, where have you been? Noisy goose, where have you been and what did you see there? A Chinaman? Where have you been, what did you see there? I have been far away at sea, the blue sea and the lake of blue, a swan neck’d maiden in the sea was bathing, washing there her Sunday dress. A little white swan did you see there and did you see a little white swan. And how should not I have seen the sea, not I have seen the sea? How should not I have seen the sea, seen the little swan. Ay, beneath his wing the swan doth hide his mate. Two swans, two white swans in the sea were swimming in the sea, two swans. Ay, and Fetis holds Nastasia right tenderly and Fetis holds his bride to him tenderly.

First bridesmaid: And you, Nastasia, what have you done?

Bride: I have donn’d a golden belt, it is plaited with pearls that trail and hang down to the ground.

Best man: O you merry old rogue. Nastasia’s father, you, he has sold his child for wine, for flowing goblets!

Chorus: Now all you who are come to the feast, lead the bride in, the bridegroom is waiting, lonely, holding a goblet of rare old wine, a rare goblet. You fair maids, and you pastry-cooks, and you platewashers, you good-for-nothing, good-for-nothing, you chatterboxes, all you lazy wives, you silly Reds, you foolish ones, and all you naughty ones who are among the wedding guests!

One of the friends chooses among the guests a man and his wife, and sends them to warm the bed for the bridal pair

Raise your voices! Hear the bridegroom saying ‘I would sleep now’ and the bride replying ‘Take me with you’. Hear the bridegroom saying ‘Is the bed narrow?’ and the bride replying ‘Not too narrow’. Hear the bridegroom saying ‘How cold are the blankets’ and the bride replying ‘They shall warm them’. ’Tis to thee Fetis sing we now this little song, and to the little dove, the white one, to tasia, to our Timofeevna, too. Dost hear us, hearest thou Fetis. Dost hear us, Pamfilievitch. We are honouring you, we sing our song to you. Do not lie thus by the steep river bank, ay, sit down, Savelyouchka, in a summer house, a wedding prepare now for Fetis.

Guests: In the farm-house see how jolly a feast is held, nobles sat at table drinking honey and wine, and all the while made speeches, merrily, oh merrily, our wedding went truly. Nine kinds of beer, the good wife had prepared, but the tenth is finest, the best of all. Our Nastasia goes away, to dwell afar-off, in a distant country. Wisely shall she live there and in happiness let her be submissive, let her be obedient! She who knows how to be obedient, always is happy. Bow then courteously, both to the old and the young ones. To the very youngest maidens you must bow lower. In the garden green there, Fetis stood and look’d upon the marks of his Nastasia’s feet, his own Nastasia. A smart young dandy, a dandy went a-walking down the street, down the long wide street walking. On his head he wore a fine furry cap for winter. My Nastasia walks very quickly and her new little coat, it is lined with the fur of martens cosily.

Friends: Black her brows and beautiful!

One of the friends: Now then, you old man, come and drink a little glass of wine, drink a good glass of wine!

Men, friends and women: Toast the happy married couple, for our married ones need many things, they want to have a little house increasing their home, a bath will they build for themselves there. You come and have a bath, afterwards you will be heated. So did our married pair begin their happy days together. Now then! Now then! Drink to their health, drink and toast our pair!

The bride and bridegroom embrace one another

Chorus: Drink again, toast the pair, and embrace the two. This one, this one, this one, this is good, this one even now cost a rouble, but if you squeeze it in your hand, squeeze it tightly it costs double that. I don’t care, I don’t care at all though it costs as much. Now the river Volga overflows and before the gate I hear one calling, ‘Oh mother dear, my mother dear who calls me.’

One of the bridegrooms: All you silly maidens tell me who the maiden was who ruled her true love. If we’ve got your daughter let’s have a bed too!

Those who are warming the bed go out. Fetis and Nastasia are conducted to the bed and laid in it, after which they are left alone, and the door is shut

All: The two fathers and mothers settle themselves on a bench before the door, everybody facing them

Lovely little bed where I lay me down, how soft the pillow where I lay my head. Soft the pillow where I lay my head, folded in the soft blankets, folded in the blankets, the blankets warm, see our Fetis there Pamfilievitch. The little sparrow makes first his nest, then takes his mate to be with him. Fetis holds Nastasia and kisses her, his bride, kisses her and holds in his hand her little hand. Holds her hand and presses it upon his heart, holds her hand and lays it upon his heart. Dear heart, little wife, my own dearest treasure, my sweet, my honey. Dearest flow’r and treasure of mine, fairest flow’r sweetest wife, let us live in happiness so that all men may envy us.

Chorus & Soloists: Ai, louchenki, louli. And one berry spoke sweetly to another, One berry grew not far from another. And one berry represents the noble bridegroom, Fetis, And the other, Nastasia, ‘tis the white one.

Guests: So gaily, gaily goes he, Fyodor Tichnovitch. Found, found a golden ring, gold with a precious stone. A youth, youthfully goes Palagey Spanovitch!, Lost a golden ring, Palagey Spanovitch. Has lost a golden ring, gold with a precious stone.

Chorus: Young, young, young Palagey, Young Palagey, goes Spanich. Goes Palagey, goes Spanich. Has lost a golden ring, gold with a precious stone.

Guests: Flying came a goose, flying! Flying came a grey one, flying!

Chorus: One red berry bows to another red berry, One red berry spoke to another red berry, U-lyu-lyu-lyu-lyu-lyu-lyu, hounds!

All: Oi! Lai!

Guests: Flying came a goose, flying! Flying came a grey one, flying! Now its wings are beating, Its tiny feet are scratching, Ai lulie! Ai lulie! Making clouds of dust rise. Oi lai! Waking all the nobles. Oi, la, oi, la, oi, la!

Bridegroom’s father: Now behold your wife, whom God hath given you.

Chorus: Plant flax and hemp! Ask her for shirts and pants!

Chorus: Ai, we told you, Nastyushka.

Bridegroom’s father: …Shirts and pants!

Chorus: Oi, we told you, dear.

(The Mother of the Bride leads her to her son-in-law)

Mother of the Bride: To you I entrust her, my son-in-law, I entrust her, my daughter dear.

A Friend, the Mother of the Bridegroom, the Marriage Broker and his Wife: Plant flax and hemp, ask her for shirts, Give her to eat and drink, clothe her – and send her out to work.

Guests: O you noisy chatt’ring Chinese goose! O you noisy goose, where have you been and what did you see there?

Bride: I have been far away, upon the blue sea, on the lake. In the sea, on the lake, A white swan was bathing.

Guests: Louli! Louli! Away upon the sea, on the lake. Louli! Was bathing there.

Mother of the Bride: A little white swan, did you see it there? And did you see a little white swan?

Bridegroom & Female Chorus: And how should I not have seen the sea, not have seen the sea? How should I not have seen the sea, seen the little swan?

Guest: Ay, beneath his wing the swan doth hide his mate. Ay, beneath his wing the swan doth hide his mate. Ay, and Fetis holds Nastasia at his side, Ay, and Fetis holds his bride under his wing.

Mother of the Bridegroom: Two swans, two white swans in the sea, Were swimming in the sea, two swans.

Chorus: Oi, louli, oi, louli, two swans were swimming there.

A Friend: And you, Nastasia, what have you done?

Bride: I have donn’d a golden belt, it is plaited with pearls That trail and hang down to the ground, the ground.

The Marriage Broker: O you merry old rogue, Nastasia’s father, you, Holding a goblet of rare old wine, a rare goblet.

Chorus: He has sold his child for wine, for flowing goblets!

A Friend: Dear marriage brokers, don’t tarry! Lead the bride in, the bridegroom is waiting lonely. You fair maidens! You pastry cooks, And you plate smashers, You grey-headed old wives, You weak wives, Small children stealing peas, Carrot-thieves! Raise your voices!

(One of the friends chooses among the guests, a man and his wife, and sends them to warm the bed for the bridal pair.)

Bridesmaids: ’Tis to thee, Fetis, Sing we now this little song, And to the little dove, the white one, To Nastasia, to our Timofeevna, too! Dost hear us, hearest thou, Fetis, Dost hear us, Pamfilievitch? We sing a song to you, We are honouring you!

The Marriage Broker: Do not lie thus by the steep river bank. Ay, sit down, Savelyouchka. In a summer house, a wedding prepare now, for Fetis. Oy!

Guests: In the farmhouse see how jolly a feast is held. Nobles sat at table drinking honey and wine, And all the while made speeches.

The Marriage Broker: Merrily, oh merrily, our wedding went truly. Nine kinds of beer were brewed, But the tenth is the strongest of all, as strong as vodka.

Bridesmaids: Our Nastasia goes away, to dwell afar off, In a distant country, wisely shall she live there in happiness. Let her be an obedient girl, let her be obedient!

Mother: She who knows how to be obedient, always is happy.

Guests (in turn): Bow then courteously, both to the old and the young ones. To the very youngest maidens you must bow lower A smart young dandy, a dandy went awalking down the street, Down the long wide street walking. In the garden green there, Fetis stood and look’d Upon the marks of his Nastasia’s feet, his own Nastasia. On his head he wore a fine fuzzy cap for winter, Tied it to his head with a lily ribbon.

Bridegroom: My Nastasia walks very quickly and her new little coat, It is lined with the fur of martens cosily.

Friends of the couple: Nastya the black-browed! Now then, you old man, come and drink a little glass! Drink a nice little glass! Toast the happy married couple! To our pair drink a health! For our married ones need many things, They want to have a little house, Increasing their home, A banya they will build for themselves there. You come and have a good steam, Afterwards you will be satisfied. So did our young pair start to live!

Guest: This one, this one, this one, this is good! This one even now cost a rouble, But if you squeeze it in your hand, Squeeze it tightly it costs double that.

Friends: I don’t care, I don’t care at all, If only there was money. Now the river Volga overflows, The son-in-law cries out:

Women: “Ah, my mother-in-law, my mother-in-law dear!”

Chorus: And when your time comes, Might I get a few roubles, Ev’n six.

One of the friends: All you blind maidens, Can’t you see the girl’s nudging the young man in the side, Calling him to the little cage?

The Marriage Broker: (to the couple who warmed the bed) You gave us the girl, now give us the bed!

(Those who are warming the bed go out. Fetis and Nastasia are conducted to the bed and laid in it, after which they are left alone, and the door is shut. The parents of the Bridegroom and Bride seat themselves on a bench in front of the door, with everyone facing them.)

All: My lovely little bed! On the little bed, a lovely feather mattress, On the feather mattress, a place for my head, In the place for my head, covered in blankets. Folded in the blankets, a good young man, A good young man that is Fetis. The sparrow pairs with the sparrow, Lays her down on the bed. Fetis holds Nastasia and kisses her. Kisses her and lays her on his arm. Puts her in his arms and presses her to his heart.